Watch Nebraska Free Watch Megavideo Stream

After making side trips to California's Central Coast and Hawaii (for "Sideways" and "The Descendants," respectively), Alexander Payne returns to his home state of Nebraska for his sixth directorial feature, a wistful ode to small-town Midwestern life and the quixotic dreams of stubborn old men. Sporting a career-crowning performance by Bruce Dern and a thoroughly impressive dramatic turn by "SNL"/"30 Rock" alum Will Forte, Payne's first film based on another writer's original screenplay (by debut feature scribe Bob Nelson) nevertheless fits nicely alongside his other low-concept, finely etched studies of flawed characters stuck in life's well-worn grooves. Black-and-white lensing and lack of a Clooney-sized star portend less than "Descendants"-sized business, but critical hosannas and awards buzz should mean solid prestige success for this November Paramount release.

Just as "The Last Picture Show" was a movie made in the 1970s about the end of '50s-era innocence, "Nebraska" feels, despite its present-day setting, like a eulogy for a bygone America (and American cinema), from the casting of New Hollywood fixtures Dern and Stacy Keach to its many windswept vistas of a vital agro-industrial heartland outsourced into irrelevance. First seen trudging alone along a busy stretch of Montana highway, Dern's Woody Grant is a man who, like his surroundings, seems to have outlived his usefulness, an ornery alcoholic whose bouts of confusion have put a strain on his marriage to Kate ("About Schmidt's" June Squibb) and caused sons David (Forte) and Ross (Bob Odenkirk) to worry that he might be losing his mind. Offering further evidence to support this claim, Woody has become convinced he's won $1 million in a Publisher's Clearing House-like sweepstakes -- a prize he insists on collecting in person at the company's HQ in Lincoln, Neb.

Though more levelheaded parties insist that the money is bogus, Woody cannot be deterred. Asked what he'll do with his "winnings," he announces his intention to buy a new truck -- even though he can no longer drive -- and a new air compressor (to replace one he loaned to a friend 40 years ago). But like the children's playground commissioned by the dying bureaucrat in Kurosawa's "Ikiru," or the interstate tractor journey undertaken by the Iowa farmer of David Lynch's "The Straight Story," Woody's quest is really a last, valedictory gesture designed to give meaning to a life. So David reluctantly agrees to take Dad on the road, as much out of pity as to escape his own broken-down situation, working a dead-end retail job and recently dumped by his live-in girlfriend.

What follows is, like many of Payne's films, a road movie of sorts, winding its way through Wyoming and South Dakota, slate-colored skies hanging over pastureland and lonely blacktop, last-stop diners standing on the edge of nowhere. The widescreen monochrome imagery, shot by Payne's longtime d.p. Phedon Papamichael, is at once ravishing and melancholy, evoking both Robert Surtees' "Picture Show" lensing and a host of iconic American still photography (Walker Evans, Dorothea Lange, et al.) without calling undue attention to itself.

Eventually, father and son make a pit stop in Woody's hometown of Hawthorn (actually, Norfolk, Neb.), where it doesn't take long for the incipient millionaire to become headline news, like the ersatz war hero (also named Woody) at the center of Preston Sturges' "Hail the Conquering Hero." Nor does Woody seem to mind the attention, even as it brings all manner of moocher out of the woodwork, including more than a few family members and a former business partner (the coy, flinty Keach) with an old score to settle. Everyone, it seems, wants -- or perhaps needs -- to believe in Woody's dream as much as he does.

Throughout, Payne gently infuses the film's comic tone with strains of longing and regret, always careful to avoid the maudlin or cheaply sentimental. (A couple of nincompoop nephews, played by Tim Driscoll and Devin Ratray, rep the pic's only real concession to slapstick.) In a series of lovely, understated scenes, David finds himself learning secondhand about the taciturn father he has never really known, meeting an ex-flame (Angela McEwan) who competed with his mother for Woody's affections, hearing rumors of a possible extramarital affair, gleaning details about Woody's service in the Korean War. Finally, rejoined by Kate and Ross for the final leg of the journey, the entire family visits the farmhouse where Woody grew up, now a decrepit mausoleum of farm-belt prosperity. The closer the characters get to Lincoln, the more they appear to be receding into the past, culminating in one magnificent sequence that equates a drive down a small main street with the span of an entire life lived.

Dern is simply marvelous in a role the director reportedly first offered to Gene Hackman, but which is all the richer for being played by someone who was never as big of a star. Looking suitably disheveled and sometimes dazed, he conveys the full measure of a man who has fallen short of his own expectations, resisting the temptation to overplay, letting his wonderfully weathered face course with subtle shades of sorrow, self-loathing and indignation. Given the less innately attention-getting role (a la Tom Cruise in "Rain Man"), Forte does similarly nuanced work, his scenes with Dern resonating with the major and minor grievances that lie unresolved between parents and children. Had Payne not already used it, "The Descendants" would have been an equally apt title here, so acute is the film's sense of the virtues and vices passed down from one generation to the next.

Keach and Squibb (bumped off early in "About Schmidt," getting to go the full distance here) also stand out in a resolutely un-starry cast, full of convincingly ordinary, plainspoken Midwesterners. In addition to Papamichael's camerawork, the plaintive guitar-and-fiddle score by Mark Orton is another craft standout.

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Watch Nebraska Free Full Trailer Download Movie Free in y 2013

After making side trips to California's Central Coast and Hawaii (for "Sideways" and "The Descendants," respectively), Alexander Payne returns to his home state of Nebraska for his sixth directorial feature, a wistful ode to small-town Midwestern life and the quixotic dreams of stubborn old men. Sporting a career-crowning performance by Bruce Dern and a thoroughly impressive dramatic turn by "SNL"/"30 Rock" alum Will Forte, Payne's first film based on another writer's original screenplay (by debut feature scribe Bob Nelson) nevertheless fits nicely alongside his other low-concept, finely etched studies of flawed characters stuck in life's well-worn grooves. Black-and-white lensing and lack of a Clooney-sized star portend less than "Descendants"-sized business, but critical hosannas and awards buzz should mean solid prestige success for this November Paramount release.

Just as "The Last Picture Show" was a movie made in the 1970s about the end of '50s-era innocence, "Nebraska" feels, despite its present-day setting, like a eulogy for a bygone America (and American cinema), from the casting of New Hollywood fixtures Dern and Stacy Keach to its many windswept vistas of a vital agro-industrial heartland outsourced into irrelevance. First seen trudging alone along a busy stretch of Montana highway, Dern's Woody Grant is a man who, like his surroundings, seems to have outlived his usefulness, an ornery alcoholic whose bouts of confusion have put a strain on his marriage to Kate ("About Schmidt's" June Squibb) and caused sons David (Forte) and Ross (Bob Odenkirk) to worry that he might be losing his mind. Offering further evidence to support this claim, Woody has become convinced he's won $1 million in a Publisher's Clearing House-like sweepstakes -- a prize he insists on collecting in person at the company's HQ in Lincoln, Neb.

Though more levelheaded parties insist that the money is bogus, Woody cannot be deterred. Asked what he'll do with his "winnings," he announces his intention to buy a new truck -- even though he can no longer drive -- and a new air compressor (to replace one he loaned to a friend 40 years ago). But like the children's playground commissioned by the dying bureaucrat in Kurosawa's "Ikiru," or the interstate tractor journey undertaken by the Iowa farmer of David Lynch's "The Straight Story," Woody's quest is really a last, valedictory gesture designed to give meaning to a life. So David reluctantly agrees to take Dad on the road, as much out of pity as to escape his own broken-down situation, working a dead-end retail job and recently dumped by his live-in girlfriend.

What follows is, like many of Payne's films, a road movie of sorts, winding its way through Wyoming and South Dakota, slate-colored skies hanging over pastureland and lonely blacktop, last-stop diners standing on the edge of nowhere. The widescreen monochrome imagery, shot by Payne's longtime d.p. Phedon Papamichael, is at once ravishing and melancholy, evoking both Robert Surtees' "Picture Show" lensing and a host of iconic American still photography (Walker Evans, Dorothea Lange, et al.) without calling undue attention to itself.

Eventually, father and son make a pit stop in Woody's hometown of Hawthorn (actually, Norfolk, Neb.), where it doesn't take long for the incipient millionaire to become headline news, like the ersatz war hero (also named Woody) at the center of Preston Sturges' "Hail the Conquering Hero." Nor does Woody seem to mind the attention, even as it brings all manner of moocher out of the woodwork, including more than a few family members and a former business partner (the coy, flinty Keach) with an old score to settle. Everyone, it seems, wants -- or perhaps needs -- to believe in Woody's dream as much as he does.

Throughout, Payne gently infuses the film's comic tone with strains of longing and regret, always careful to avoid the maudlin or cheaply sentimental. (A couple of nincompoop nephews, played by Tim Driscoll and Devin Ratray, rep the pic's only real concession to slapstick.) In a series of lovely, understated scenes, David finds himself learning secondhand about the taciturn father he has never really known, meeting an ex-flame (Angela McEwan) who competed with his mother for Woody's affections, hearing rumors of a possible extramarital affair, gleaning details about Woody's service in the Korean War. Finally, rejoined by Kate and Ross for the final leg of the journey, the entire family visits the farmhouse where Woody grew up, now a decrepit mausoleum of farm-belt prosperity. The closer the characters get to Lincoln, the more they appear to be receding into the past, culminating in one magnificent sequence that equates a drive down a small main street with the span of an entire life lived.

Dern is simply marvelous in a role the director reportedly first offered to Gene Hackman, but which is all the richer for being played by someone who was never as big of a star. Looking suitably disheveled and sometimes dazed, he conveys the full measure of a man who has fallen short of his own expectations, resisting the temptation to overplay, letting his wonderfully weathered face course with subtle shades of sorrow, self-loathing and indignation. Given the less innately attention-getting role (a la Tom Cruise in "Rain Man"), Forte does similarly nuanced work, his scenes with Dern resonating with the major and minor grievances that lie unresolved between parents and children. Had Payne not already used it, "The Descendants" would have been an equally apt title here, so acute is the film's sense of the virtues and vices passed down from one generation to the next.

Keach and Squibb (bumped off early in "About Schmidt," getting to go the full distance here) also stand out in a resolutely un-starry cast, full of convincingly ordinary, plainspoken Midwesterners. In addition to Papamichael's camerawork, the plaintive guitar-and-fiddle score by Mark Orton is another craft standout.

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Watch Nebraska Free Full Trailer Download Movie Free in y 2013

Nebraska is not Alexander Payne’s love letter to his home state. It is not his version of Manhattan or Paris, Texas, turning Nebraska into a magical, other worldly place to live. For director Payne, the state of Nebraska is comparative to the way David Grant sees his family. Harsh, messy, imperfect, but home nonetheless and there is no getting away from that connection.

David Grant is the main character in Payne’s Nebraska, a father-son road trip film. David (Will Forte) doesn’t have a very big or important life, as his father mentions in a back-handed sort of way. He works as a sales man at an electronics store, lives in an apartment in Billings, Montana, and just broke up with his girlfriend of 2 years because couldn’t make a commitment. But he is also on constant call to take care of his father Woody (Bruce Dern), who isn’t all there due to age, dementia, and years of drinking. Most recently, Woody has been on a mission to retrieve the million dollars a letter from a publisher sweepstakes says he’s won. Everyone tells him its nothing but a scam, but Woody won’t believe them. And unlike his hard-hearted mother Kate (June Squibb) and his like minded older brother Ross (Bob Odenkirk), exasperated David decides to take a gentle, indulgent approach with his father and let him see for himself that the letter isn’t what he thinks.

The purpose of the trip in Nebraska may be to find out about this million dollars, but the film’s story is really about family, specifically about the relationship between adult children and their aging parents. It’s an interesting concept which has been explored a few times before in major films like Make Way for Tomorrow, Harry and Tonto, and even Payne’s About Schmidt. But the difference in Nebraska is the fact that this time the story is the child’s perspective rather than the parents. It may seem a small difference, but this perspective changes everything, and adds a depth and relatability to the film for the countless children and grandchild who watch the old lose their faculties and try to not only care for them, but offer some sense of dignity with age.

Nebraska really is about two very different, small journeys – one physical, one internal. Woody’s one goal, a compulsion really, is to get to Lincoln, Nebraska at any cost. It is a ridiculous desire which is played for laughs, until the reason of his compulsion becomes clear. And then it’s absolutely heartbreaking. In fact, it is one of the great pieces of partnered acting in recent years, and Dern and Forte play it with subtly and truth. But this is also David’s journey to understand who he is in connection to his family, specifically as the son of his father. He’s the baby, not only of his immediate family, but also the extended. He’s the sensitive one who wants nothing more than to talk things out, get some fatherly advice and family history, before it’s too late. But his father won’t give what he never recieved himself, and rebuffs every attempt David makes to connect. While others would retreat and give up on Woody or respond in anger (as both wife Kate and son Ross do), David simply continues to wear his heart on his sleeve and accept his father’s lack of emotional connection and warmth as part of his personality

David has patience for people, including his father, but with that comes the weight of every rejection and disappointment, a quality David shares with his father. It’s remarkable, and a credit to both Dern and Forte, how subtly they establish the father-son connection and more specifically, the fact that David is more his father’s son than he even wants to admit. From drinking, to their sense of humor, to their generosity, they share a special bond. And this connection between David and Woody is cemented when compared to how Grant and Kate behave, a bit more forthright and cynical.

Nebraska will likely struggle at the box-office, being a black-and-white movie with two unproven stars, but it has great potential of being a sleeper and will likely be an awards contender. Not only because it is from Oscar favorite Alexander Payne, but because it’s commentary about gender, family, and age are issues which are universal, and addressed in refreshing, humorous, and heartfelt ways, which will likely bring audiences together. Emotionally, the movie strikes a cord as a portrait of a very real, and specific, family.

With its blend of comedy and drama, and timeless sense of realism, and it’s humanistic approach, I can see Nebraska becoming the father-son counterpoint to Terms of Endearment. Both of these films embrace the fact that the more specific you are with the details in a film, the more universal it’s appeal. It wouldn’t be surprising if Nebraska proves to be bonding experience for families, considering the emotional reaction I saw from some in the audience who spoke of how the film reminded them of their own fathers and grandfathers.

What I do know however is that the movie is near perfect in it’s execution, tone, and performances…and I can’t wait to share Nebraska with my own family. source: http://prettycleverfilms.com/movie-reviews/modern-times/nyff-review-nebraska-2013/#.UoVcICdwy0w

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Alexander Payne’s films have been a series of peaks and valleys. His first two movies “Citizen Ruth” (1996) and “Election” (1999) set such a high standard of socio-political satire that there was no place left to go but down. “About Schmidt” fulfilled that inevitable lull with an aging small-minded character whose greatest legacy was the years he squandered for a thankless company. Then came “Sideways” (2004), a movie soared as a masterstroke of nuanced comedy about male-midlife-crisis that gave Thomas Haden Church a chance to shine like never before. “The Descendants” (2011) was a flawed precursor to the themes of America’s cultural, economic, and political demise that Alexander Payne nails on every level in “Nebraska.”

The film’s majestic title evokes the Midwestern badlands where man is dwarfed by a big sky and a rugged terrain that simultaneously dwarf and glorify his existence. Payne appropriately shoots in black and white to lend a nostalgic quality that filters the satirical nature of the drama, and contextualizes its comedic elements. The monochromic presentation clarifies “Nebraska’s” somber atmosphere to measure the symptoms of a country sinking in a darker economic crisis than that of the Great Depression. Still, neither context nor subtext is ever telegraphed. Every scene and line of dialogue presents new revelations of purpose and place.

Woody Grant (Bruce Dern) is an aging alcoholic family man suffering from the onslaught of dementia. He can’t drive anymore, but dreams of buying a new truck. He views himself as a failed patriarch, and by the look of things he’s not wrong.

The film opens with Woody distractedly walking along a Montana highway like a close cousin to Harry Dean Stanton’s character at the beginning of “Paris, Texas.” The 76-year-old Bruce Dern inhabits Woody so thoroughly that you genuinely worry about his well-being. Like Robert Redford’s career-topping performance in this year’s “All is Lost,” Bruce Dern’s portrayal here is astonishing for its unadorned directness. Nothing is wasted. Nothing is lost. Everything flows. Everything matters.

David (Will Forte), one of Woody’s two sons, is a loser. He sells electronic equipment in a retail store. He recently broke up with his former live-in girlfriend over commitment issues. Forte — famous for his run on “Saturday Nigh Live” — is a revelation for his concealed comic delivery. Forte carves his character’s initials with evermore-determined incisions toward a sincere crisis decision of emotionally cathartic consequence. This is a movie that will live on in your heart forever.

Woody’s wife Kate (June Squibb) can curse like a sailor, and frequently does when her salty demeanor veers into ribald territory. A graveyard visit proves a guffaw inducing event when Kate lets loose. Payne knows exactly where to let humor pounce, and pounce it does with a precision that stings.

Woody recently received a Publishers Clearing House-type document in the mail that he is convinced means he’s won a million-dollars. He is determined to travel to Nebraska to collect his winnings in person. He doesn’t trust institutions like the post office, but he is all-too-trusting of people. Sympathetic to his father’s fragile mental and physical state, David elects to take time off from his job to drive his dad to Nebraska as an excuse to spend some quality time with the old man. The father-and-son road trip through Wyoming and South Dakota allows for a stop-over in Woody’s hometown of Hawthorne, Nebraska where family and “friends” come out of the woodwork after hearing about Woody’s windfall. Woody’s ex-business partner Ed Pegram (Stacy Keach) is an especially prickly customer.

Written by debut screenwriter Bob Nelson, “Nebraska” strikes at a distinctly American mindset of jealousy, greed, and betrayal that undermines its citizens’ equally persistent sense of optimism, integrity, and familial connection. It’s an adult family film worthy of repeated viewings over the Thanksgiving and Christmas holidays, when families join together in living rooms to share personal experiences, ideas, and hopes for the future. The elusive new value that America seeks is right under its nose; it’s also in the underlying theme of this truly wonderful picture.

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Submitted by Craig Younkin - Movie Room Reviews

on 2013-11-13 12:51

If your slightly out-of-it parent came to you saying they won a million dollars off Publisher’s Clearing House, how would you react? Most likely what you’re imagining is a much sadder scenario than the people behind “Nebraska” have cooked up. Part quirky comedy, part drama about getting older, director Alexander Payne (“Sideways”, “The Descendants”) and an entire cast do a fantastic job creating an amusing film.

Bruce Dern (who won a best actor prize at Cannes for this role) plays Woody Grant, an older man we first see trying to walk from Montana to Nebraska to collect the million he’s won. Instead the cops pick him up. Mom (June Squibb) and his older son (Bob Odenkirk) want dad put into a home but the more caring David (Will Forte) knows dad just wants one last hurrah so he loads up the car for a road trip, which takes an unexpected turn for a reunion at Woody’s brothers place in Hawthorne. Mom and older bro soon reunite with them.

Funny, eccentric characters abound. Dern is perfect here, very reminiscent of his role of Bill Paxton’s father on “Big Love”, as this crabby, pathetic, old alcoholic. Woody is essentially a bastard, his track record as a father and husband is suspect (his reason for even having kids is “I like to screw”, which says alot) but Dern also finds layers to this character that make him more sympathetic as the film goes on. Squibb is an award-worthy scene-stealer though as Woody’s barb-tongued wife, his biggest critic and also defender.

And SNL’s Will Forte more often than not becomes an excellent straight man. After “MacGruber” and “The Brothers Solomon”, one would never expect acting work as good as this. The characters around Hawthorne also gave me a smile; ones who are exuberantly nice, the lazy, redneck cousins who think driving under the 100 mph speed limit is for pussies. These people represent a part of America that seems both glazed-over with the routine of, and wowed by anything not happening within, the small place where they live.

Screenwriter Bob Nelson’s characters reminded me a bit of Coen Brother eccentricity, but they also become a bit more endearing. Payne decided to shoot this film in black and white and it actually does seem to fit really well, just as much a drab window into the souls of sad characters as it is into the monotony of their lives and how the Midwest has been hit hard by the economy. The movie touches on the sadness of aging, taking a trip down memory lane, and of course father and son learning to understand each other but mostly the people in it stand out so much more than the story itself.

Movie Collectioons Free For Watch

Watch Nebraska Free Watch Megavideo Stream

After making side trips to California's Central Coast and Hawaii (for "Sideways" and "The Descendants," respectively), Alexander Payne returns to his home state of Nebraska for his sixth directorial feature, a wistful ode to small-town Midwestern life and the quixotic dreams of stubborn old men. Sporting a career-crowning performance by Bruce Dern and a thoroughly impressive dramatic turn by "SNL"/"30 Rock" alum Will Forte, Payne's first film based on another writer's original screenplay (by debut feature scribe Bob Nelson) nevertheless fits nicely alongside his other low-concept, finely etched studies of flawed characters stuck in life's well-worn grooves. Black-and-white lensing and lack of a Clooney-sized star portend less than "Descendants"-sized business, but critical hosannas and awards buzz should mean solid prestige success for this November Paramount release.

Just as "The Last Picture Show" was a movie made in the 1970s about the end of '50s-era innocence, "Nebraska" feels, despite its present-day setting, like a eulogy for a bygone America (and American cinema), from the casting of New Hollywood fixtures Dern and Stacy Keach to its many windswept vistas of a vital agro-industrial heartland outsourced into irrelevance. First seen trudging alone along a busy stretch of Montana highway, Dern's Woody Grant is a man who, like his surroundings, seems to have outlived his usefulness, an ornery alcoholic whose bouts of confusion have put a strain on his marriage to Kate ("About Schmidt's" June Squibb) and caused sons David (Forte) and Ross (Bob Odenkirk) to worry that he might be losing his mind. Offering further evidence to support this claim, Woody has become convinced he's won $1 million in a Publisher's Clearing House-like sweepstakes -- a prize he insists on collecting in person at the company's HQ in Lincoln, Neb.

Though more levelheaded parties insist that the money is bogus, Woody cannot be deterred. Asked what he'll do with his "winnings," he announces his intention to buy a new truck -- even though he can no longer drive -- and a new air compressor (to replace one he loaned to a friend 40 years ago). But like the children's playground commissioned by the dying bureaucrat in Kurosawa's "Ikiru," or the interstate tractor journey undertaken by the Iowa farmer of David Lynch's "The Straight Story," Woody's quest is really a last, valedictory gesture designed to give meaning to a life. So David reluctantly agrees to take Dad on the road, as much out of pity as to escape his own broken-down situation, working a dead-end retail job and recently dumped by his live-in girlfriend.

What follows is, like many of Payne's films, a road movie of sorts, winding its way through Wyoming and South Dakota, slate-colored skies hanging over pastureland and lonely blacktop, last-stop diners standing on the edge of nowhere. The widescreen monochrome imagery, shot by Payne's longtime d.p. Phedon Papamichael, is at once ravishing and melancholy, evoking both Robert Surtees' "Picture Show" lensing and a host of iconic American still photography (Walker Evans, Dorothea Lange, et al.) without calling undue attention to itself.

Eventually, father and son make a pit stop in Woody's hometown of Hawthorn (actually, Norfolk, Neb.), where it doesn't take long for the incipient millionaire to become headline news, like the ersatz war hero (also named Woody) at the center of Preston Sturges' "Hail the Conquering Hero." Nor does Woody seem to mind the attention, even as it brings all manner of moocher out of the woodwork, including more than a few family members and a former business partner (the coy, flinty Keach) with an old score to settle. Everyone, it seems, wants -- or perhaps needs -- to believe in Woody's dream as much as he does.

Throughout, Payne gently infuses the film's comic tone with strains of longing and regret, always careful to avoid the maudlin or cheaply sentimental. (A couple of nincompoop nephews, played by Tim Driscoll and Devin Ratray, rep the pic's only real concession to slapstick.) In a series of lovely, understated scenes, David finds himself learning secondhand about the taciturn father he has never really known, meeting an ex-flame (Angela McEwan) who competed with his mother for Woody's affections, hearing rumors of a possible extramarital affair, gleaning details about Woody's service in the Korean War. Finally, rejoined by Kate and Ross for the final leg of the journey, the entire family visits the farmhouse where Woody grew up, now a decrepit mausoleum of farm-belt prosperity. The closer the characters get to Lincoln, the more they appear to be receding into the past, culminating in one magnificent sequence that equates a drive down a small main street with the span of an entire life lived.

Dern is simply marvelous in a role the director reportedly first offered to Gene Hackman, but which is all the richer for being played by someone who was never as big of a star. Looking suitably disheveled and sometimes dazed, he conveys the full measure of a man who has fallen short of his own expectations, resisting the temptation to overplay, letting his wonderfully weathered face course with subtle shades of sorrow, self-loathing and indignation. Given the less innately attention-getting role (a la Tom Cruise in "Rain Man"), Forte does similarly nuanced work, his scenes with Dern resonating with the major and minor grievances that lie unresolved between parents and children. Had Payne not already used it, "The Descendants" would have been an equally apt title here, so acute is the film's sense of the virtues and vices passed down from one generation to the next.

Keach and Squibb (bumped off early in "About Schmidt," getting to go the full distance here) also stand out in a resolutely un-starry cast, full of convincingly ordinary, plainspoken Midwesterners. In addition to Papamichael's camerawork, the plaintive guitar-and-fiddle score by Mark Orton is another craft standout.

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Watch Nebraska Full Movie Free Stream 2013

Submitted by Craig Younkin - Movie Room Reviews

on 2013-11-13 12:51

If your slightly out-of-it parent came to you saying they won a million dollars off Publisher’s Clearing House, how would you react? Most likely what you’re imagining is a much sadder scenario than the people behind “Nebraska” have cooked up. Part quirky comedy, part drama about getting older, director Alexander Payne (“Sideways”, “The Descendants”) and an entire cast do a fantastic job creating an amusing film.

Bruce Dern (who won a best actor prize at Cannes for this role) plays Woody Grant, an older man we first see trying to walk from Montana to Nebraska to collect the million he’s won. Instead the cops pick him up. Mom (June Squibb) and his older son (Bob Odenkirk) want dad put into a home but the more caring David (Will Forte) knows dad just wants one last hurrah so he loads up the car for a road trip, which takes an unexpected turn for a reunion at Woody’s brothers place in Hawthorne. Mom and older bro soon reunite with them.

Funny, eccentric characters abound. Dern is perfect here, very reminiscent of his role of Bill Paxton’s father on “Big Love”, as this crabby, pathetic, old alcoholic. Woody is essentially a bastard, his track record as a father and husband is suspect (his reason for even having kids is “I like to screw”, which says alot) but Dern also finds layers to this character that make him more sympathetic as the film goes on. Squibb is an award-worthy scene-stealer though as Woody’s barb-tongued wife, his biggest critic and also defender.

And SNL’s Will Forte more often than not becomes an excellent straight man. After “MacGruber” and “The Brothers Solomon”, one would never expect acting work as good as this. The characters around Hawthorne also gave me a smile; ones who are exuberantly nice, the lazy, redneck cousins who think driving under the 100 mph speed limit is for pussies. These people represent a part of America that seems both glazed-over with the routine of, and wowed by anything not happening within, the small place where they live.

Screenwriter Bob Nelson’s characters reminded me a bit of Coen Brother eccentricity, but they also become a bit more endearing. Payne decided to shoot this film in black and white and it actually does seem to fit really well, just as much a drab window into the souls of sad characters as it is into the monotony of their lives and how the Midwest has been hit hard by the economy. The movie touches on the sadness of aging, taking a trip down memory lane, and of course father and son learning to understand each other but mostly the people in it stand out so much more than the story itself.

Movie Collectioons Free For Watch